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Enrich and update your KS3 Science curriculum and prepare today's
pupils for GCSE 9-1 Science with this engaging and flexible student
book. Empower students to engage with science by providing an
inspiring science education with this new KS3 Science student book.
* Review and revisit knowledge and make connections between topics
with knowledge organisers for each unit * Check understanding and
consolidate learning with thousands of high-quality differentiated
questions and answers * Encourage pupils to track their own
progress and grow in confidence and sense of achievement with pupil
road maps * Provide rich cultural capital and cultivate a sense of
science identity and engagement with application of science in
varied careers, reviewed by the WISE campaign * Help pupils in the
transition from KS2 and after disruption to schooling with
accessible, visually-appealing content as well as supportive worked
examples and scaffolding throughout the questions * Build maths and
practical skills in a variety of contexts with questions integrated
into each unit * Ideal complement to the Collins KS3 Lab Book
Digital interactive audio is the future of audio in media - most
notably video games, but also web pages, theme parks, museums, art
installations and theatrical events. Despite its importance to
contemporary multi-media, this is the first book that provides a
framework for understanding the history, issues and theories
surrounding interactive audio. Karen Collins presents the work of
academics, composers and sound programmers to introduce the topic
from a variety of angles in order to provide a supplementary text
for music and multimedia courses. The contributors cover practical
and theoretical approaches, including historical perspectives,
emerging theories, socio-cultural approaches to fandom, reception
theory and case study analyses. The book offers a fresh perspective
on media music, one that will complement film studies, but which
will show the necessity of a unique approach when considering games
music.
Digital interactive audio is the future of audio in media - most
notably video games, but also web pages, theme parks, museums, art
installations and theatrical events. Despite its importance to
contemporary multi-media, this is the first book that provides a
framework for understanding the history, issues and theories
surrounding interactive audio. Karen Collins presents the work of
academics, composers and sound programmers to introduce the topic
from a variety of angles in order to provide a supplementary text
for music and multimedia courses. The contributors cover practical
and theoretical approaches, including historical perspectives,
emerging theories, socio-cultural approaches to fandom, reception
theory and case study analyses. The book offers a fresh perspective
on media music, one that will complement film studies, but which
will show the necessity of a unique approach when considering games
music.
Develop and enhance your KS3 Science curriculum to prepare today's
pupils for GCSE 9-1 Science with this up-to-date, flexible and
customisable teacher pack. Inspire your students to feel connected
and curious about the changing world of science and help them to
become scientifically literate and confident in their KS3 science
studies. * Integrate the resources into existing KS3 Science
schemes of work flexibly using the mapping provided * Print and
customise resources including student road maps, fill-in-the blank
versions of the knowledge organisers and vocabulary quizzes * Save
time with PowerPoint teaching slide versions of selected resources
* Plan and demonstrate clear cohesion and progression using the
detailed mapping and sequencing rationales from KS2 to KS4 *
Diagnose and address misconceptions using the topic guides from
expert authors * Make the most of the carefully crafted science
questions with commentary including challenging concepts, possible
misconceptions and advice on grading and progression routes * Embed
knowledge into long term memory with a bank of retrieval questions
for each unit for flexible use and interleaving suggestions *
Provide rich cultural capital and cultivate a sense of science
identity and engagement with application of science in varied
careers, reviewed by the WISE campaign * Ideal complement to the
Collins KS3 Lab Book
An examination of the many complex aspects of game audio, from the
perspectives of both sound design and music composition. A
distinguishing feature of video games is their interactivity, and
sound plays an important role in this: a player's actions can
trigger dialogue, sound effects, ambient sound, and music. And yet
game sound has been neglected in the growing literature on game
studies. This book fills that gap, introducing readers to the many
complex aspects of game audio, from its development in early games
to theoretical discussions of immersion and realism. In Game Sound,
Karen Collins draws on a range of sources-including composers,
sound designers, voice-over actors and other industry
professionals, Internet articles, fan sites, industry conferences,
magazines, patent documents, and, of course, the games
themselves-to offer a broad overview of the history, theory, and
production practice of video game audio. Game Sound has two
underlying themes: how and why games are different from or similar
to film or other linear audiovisual media; and technology and the
constraints it has placed on the production of game audio. Collins
focuses first on the historical development of game audio, from
penny arcades through the rise of home games and the recent rapid
developments in the industry. She then examines the production
process for a contemporary game at a large game company, discussing
the roles of composers, sound designers, voice talent, and audio
programmers; considers the growing presence of licensed
intellectual property (particularly popular music and films) in
games; and explores the function of audio in games in theoretical
terms. Finally, she discusses the difficulties posed by
nonlinearity and interactivity for the composer of game music.
An introduction to the concepts and principles of sound design
practice, with more than 175 exercises that teach readers to put
theory into practice.This book offers an introduction to the
principles and concepts of sound design practice, from technical
aspects of sound effects to the creative use of sound in
storytelling. Most books on sound design focus on sound for the
moving image. Studying Sound is unique in its exploration of sound
on its own as a medium and rhetorical device. It includes more than
175 exercises that enable readers to put theory into practice as
they progress through the chapters. The book begins with an
examination of the distinction between hearing and listening (with
exercises to train the ears) and then offers an overview of sound
as an acoustic phenomenon. It introduces recording sound, covering
basic recording accessories as well as theories about recording and
perception; explores such spatial effects as reverberation and
echo; and surveys other common digital sound effects, including
tremolo, vibrato, and distortion. It introduces the theory and
practice of mixing; explains surround and spatial sound; and
considers sound and meaning, discussing ideas from semiotics and
psychology. Finally, drawing on material presented in the preceding
chapters, the book explores in detail using sound to support story,
with examples from radio plays, audio dramas, and podcasts.
Studying Sound is suitable for classroom use or independent study.
Fulfilling and healthy relationships should be the norm not the
exception. You can develop an amazing relationship. If you are
searching for that great partner or you are already in a
relationship, this book will assist you in identifying the
relationship that you want and need to develop a plan of action to
get you there. You will develop skills to be the best partner that
you can be. You will learn how to write your own love story and get
excited about the love and relationship that you can create
together. Define your wants and needs in a fun and playful way that
brings you amazingly close to your partner.
As audiences are increasingly no longer solely listeners but also
active producer-consumers, and as video games and other interactive
systems increasingly permeate our daily lives, understanding
interactivity and its impact on the audience has never been more
important. A collection of newly commissioned chapters on
interactivity in music and sound edited by preeminent scholars in
the field, this book marks the beginning of a journey into
understanding the ways in which we interact with sound, and offers
a new set of analytical tools for the growing field of interactive
audio. What does it mean to interact with sound? How does
interactivity alter our experience as creators and listeners? What
makes interactive audio different from non-interactive audio? Where
does interacting with audio fit into our understanding of sound and
music? What does the future hold for interactive media when it
comes to our musical and sonic experiences? And how do we begin to
approach interactive audio from a theoretical perspective? The
Oxford Handbook of Interactive Audio answers these questions by
exploring the full range of interactive audio in video games,
performance, education, environmental design, toys, and artistic
practice. Examining these questions from a range of approaches -
technological, emotional, psychological, and physical - the book
provides a thorough overview of the fascinating experience of
interactive sound.
As audiences are increasingly no longer solely listeners but also
active producer-consumers, and as video games and other interactive
systems increasingly permeate our daily lives, understanding
interactivity and its impact on the audience has never been more
important. A collection of newly commissioned chapters on
interactivity in music and sound edited by preeminent scholars in
the field, this book marks the beginning of a journey into
understanding the ways in which we interact with sound, and offers
a new set of analytical tools for the growing field of interactive
audio. What does it mean to interact with sound? How does
interactivity alter our experience as creators and listeners? What
makes interactive audio different from non-interactive audio? Where
does interacting with audio fit into our understanding of sound and
music? What does the future hold for interactive media when it
comes to our musical and sonic experiences? And how do we begin to
approach interactive audio from a theoretical perspective? The
Oxford Handbook of Interactive Audio answers these questions by
exploring the full range of interactive audio in video games,
performance, education, environmental design, toys, and artistic
practice. Examining these questions from a range of approaches -
technological, emotional, psychological, and physical - the book
provides a thorough overview of the fascinating experience of
interactive sound.
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